Opera Holland Park, London
Martin Lloyd-Evans’s credible production roots the action in time and place. Amanda Echalaz is a richly drawn and touching Minnie and conductor Matthew Kofi Waldren adds colour and drama
Opera Holland Park opens its 30th season by successfully wrangling one of the art-form’s more problematic children. Ever since its 1910 New York premiere, Puccini’s wild west extravaganza has struggled to attain the kind of foothold in the standard repertoire afforded to Bohème, Butterfly or Tosca. Perhaps it’s the story; a tale of brutal hardship and racial tensions set amid the California gold rush, yet at the same time a dyed-in-the-wool Victorian melodrama. Or maybe it’s a score that leans into 20th-century modernism while gingering up the composer’s trademark lyricism with cakewalks and American dancehall music. Either way, it’s a tricky act to pull off.
Martin Lloyd-Evans’s dramatically insightful production takes its cue from documentary footage of a Yukon mining town, which brings a gritty reality rarely seen in this opera. Anna Reid’s versatile period set and costumes, with a special shout out to hair and makeup, exude authenticity, all atmospherically lit by Jamie Platt. But it’s the 49ers themselves, the opera’s rough and ready bunch of misfits and ne’er-do-wells, that make this staging so memorable. Lloyd-Evans and the tireless Opera Holland Park Chorus manage to differentiate each character, while savvy blocking ensures we follow the sometimes frenetic action with ease. By creating a credible sense of community, the principal players emerge as firmly rooted in time and place.
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